One may have two very specific musical impressions of G. Love. One is “Cold Beverage,” the hip-hop single off of his 1994 self-titled debut, made with his band, Special Sauce. Between the ode to drinking and Beck-esque marriage of folk and rap, there was nothing to dislike about the song, which is what it might sound like if a party could commit itself to tape. The other impression is his cover of Bukka White’s “Fixin’ to Die,” from Love’s 2011 album of the same name, this one made with the Avett Brothers. This track, made over a decade and a half after “Cold Beverage,” is serious and funereal, with Love sounding ravaged by time in a beautifully perfect way. If “Cold Beverage” is day drinking on the quad after a final, “Fixin’ to Die” is a quiet spot at the bar after burying your last human connection to the mortal realm.
The impressive thing about The Juice is how Love is able to explore the space between those two tunes, creating a fun record that’s not overly goofy and a serious record that isn’t depressing. Love uses a number of guests across the album, from Keb’ Mo, who also produced the album, to Robert Randolph and Marcus King. The guests serve an important role, providing variety and introducing new sonic flavors. But Love’s work with Mo is especially good. Each of their tracks has a different sound, with the common thread a solid footing in the blues.
“Fix Your Face” is blues-rock led by Mo’s electric guitar work but supported by his own organ playing beneath the track. Love’s resonator gives the song a country blues feel, but the rhythm is soulful. It’s mature but also exciting. “Shine On Moon” is acoustic blues, a style where Mo thrives. It’s old-fashioned, simple, and charming. “Birmingham,” featuring Love, Mo, and pedal steel genius Randolph is catchy, somehow fusing pop, rock, country, and gospel. As good as the song is, Randolph’s playing takes the song to another level, infusing it with holy energy. And “Go Crazy,” with its hip hop groove and funky touches is effortlessly natural. Mo’s vocals are grittier than usual and Love sounds confident working in a familiar style.
Love plays with other genres, too. “Shake Your Head” is Bob Dylan’s “Subterranean Homesick Blues” through the lens of 80s pop-funk. “She’s the Rock” recalls Peter Gabriel in his earthier moments. And “Drinkin’ Wine” is a blues-by-way-of-New-Orleans variation on “Cold Beverage,” with less of hip hop bounce and more of a jazzy lilt.
The interesting thing about Love is his relentless quest to find different aspects of the blues. Early on, he worked with pop beats, and now, over a quarter of a century later, he’s still finding new angles on an old art form. What’s enjoyable about The Juice is that it shows Love still has the youthful joyfulness of his debut but also tempered with maturity. It’s the same laid-back voice with the Philadelphia accent that can almost read Brooklyn or Boston, and it’s the same kinds of blues riffs, but there’s a subtle refinement that makes it feel like growth and not stagnation. Some of this is due to his talented guests, but it’s mostly a credit to Love’s engagement as an artist.
